Wolfgang Amadeus MozartHerbert von Karajan Full HD 1080p Full ConcertSoundtrackCompleteRequiem greatest concert memorable The RequiemMass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan

Listen to "The Essential Collection“ here – http://www.deutschegrammophon.com/cat/4793036
Listen to "The AnalogueRecordings“ here -
http://www.deutschegrammophon.com/cat/4792686
Subscribe here – The Best OfClassical Music: http://bit.ly/Subscribe_DG
Deutsche Grammophon honours Herbert von Karajan: 50 years as a DG recording artist.
Watch a trailer for the albums of the great Maestro Herbert von Karajan, to be released on Deutsche Grammophon in 2014 in his honour.
Twenty-five years ago, on 16 July 1989, the world lost one of the most widely respected musicians of the 20th century. And his recording company for 50 years, Deutsche Grammophon, lost its chief conductor and most prominent artist. Herbert von Karajan is the best-selling conductor of all time: in the course of his extraordinary career, he sold over 200 million albums.
Now, in the "Karajan Year" of 2014, DG is releasing several new records of this exceptional artist, among them a new 2-CD compilation, "Classic Karajan -- The Essential Collection", and a deluxe edition "Karajan/ Strauss -- The Analogue Recordings".
For more information for "The Essential Collection" please see: http://www.deutschegrammophon.com/cat/4793036
For more information for "Karajan/ Strauss -- The Analogue Recordings" please see:
http://www.deutschegrammophon.com/cat/4792686
For more information about the artist please see: http://www.deutschegrammophon.com/artist/karajan/
_______________
Find Deutsche Grammophon Online
Homepage: http://deutschegrammophon.com
Facebook: http://fb.com/deutschegrammophon
Twitter: http://twitter.com/dgclassics
Instagram: http://instagram.com/dgclassics
Newsletter: http://deutschegrammophon.com/gpp/index/newsletter
_______________
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La mejor música clásica - Suscríbase aquí: http://bit.ly/Subscribe_DG
Le meilleur de la musique classique. Pour vous abonner cliquez ici: http://bit.ly/Subscribe_DG

published:22 Apr 2014

views:23625

Herbert smiling at 03:15 as if he holds the world in his hands !
One of the best performances of this masterpiece by Verdi. Enjoy
I hold no copyright for this video.

published:19 May 2015

views:163176

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Herbert von Karajan

Herbert von Karajan (German pronunciation:[ˈhɛɐbɛɐt fɔn ˈkaʁaˌjan]; born Heribert, Ritter von Karajan; 5 April 1908 – 16 July 1989) was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 35 years. He is generally regarded as one of the greatest conductors of the 20th century, and he was a dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

Biography

Genealogy

The Karajans were of Greek or Aromanian ancestry. His great-great-grandfather, Georg Karajan (Georgios Karajánnis, Greek:Γεώργιος Καραγιάννης), was born in Kozani, in the Ottoman province of Rumelia (now in Greece), leaving for Vienna in 1767, and eventually Chemnitz, Electorate of Saxony. He and his brother participated in the establishment of Saxony's cloth industry, and both were ennobled for their services by Frederick Augustus III on 1 June 1792, thus the prefix "von" to the family name. The surname Karajánnis became Karajan. Although traditional biographers ascribed a Serbian or simply a Slavic origin to his mother, Karajan's family from the maternal side, through his grandfather who was born in the village of Mojstrana, Duchy of Carniola (today in Slovenia), was Slovene. By this line, Karajan was related to Austrian composer of Slovene descent Hugo Wolf. Karajan seems to have known some Slovene.

Von (band)

Von is an American black metal band from San Francisco, California. They are thought to be the first American black metal band, and have strongly influenced the second wave of black metal.

Biography

Von was formed in 1987 by Goat, Snake, and Venien who left the band in 1990, before VON was chosen as the band name. In 1991 Goat and Snake played The Stone in San Francisco without a bassist for the show as VON. In early 1991, Kill played bass in the band and the trio recorded their demo, Satanic Blood. During 1991, Von played a couple of live gigs and recorded another demo, Blood Angel, which was never released on its own. The band disbanded shortly after the release of Satanic Blood in 1992. The band's members also recorded a gothic rock demo under the name Sixx.

In 2003, Nuclear War Now! Productions released Satanic Blood Angel, a double CD/triple LP compilation featuring the band's demos on one CD and a recording of a live show on another. Besides the original Satanic Blood demo, this was the only other official Von release prior to 2010. In 2009, Nuclear War Now! Productions released the Sixx recording on an LP entitled Sister Devil.

Berlin Philharmonic

The Berlin Philharmonic (German:Berliner Philharmoniker), is an orchestra based in Berlin, Germany and is consistently ranked as one of the best orchestras in the world.

Formerly Berliner Philharmonisches Orchester; BPO, its primary concert venue is the Philharmonie, located in the Kulturforum area of the city. Since 2002, its principal conductor is Sir Simon Rattle. Funding for the organization is subsidized by the city of Berlin and a partnership with Deutsche Bank.

In 2006, ten European media outlets voted the Berlin Philharmonic number three on a list of "top ten European Orchestras", after the Vienna Philharmonic and the Royal Concertgebouw Orchestra, while in 2008 it was voted the world's number two orchestra in a survey among leading international music critics organized by the British magazine Gramophone (behind the Concertgebouw). The BPO supports several chamber music ensembles.

History

The Berlin Philharmonic was founded in Berlin in 1882 by 54 musicians under the name Frühere Bilsesche Kapelle (literally, "Former Bilse's Band"); the group broke away from their previous conductor Benjamin Bilse after he announced his intention of taking the band on a fourth-class train to Warsaw for a concert. The orchestra was renamed and reorganized under the financial management of Hermann Wolff in 1882. Their new conductor was Ludwig von Brenner; in 1887 Hans von Bülow, one of the most esteemed conductors in the world, took over the post. This helped to establish the orchestra's international reputation, and guests Hans Richter, Felix von Weingartner, Richard Strauss, Gustav Mahler, Johannes Brahms and Edvard Grieg conducted the orchestra over the next few years. Programmes of this period show that the orchestra possessed only 46 strings, much less than the Wagnerian ideal of 64.

Mozart - Requiem By Herbert von Karajan (Full HD) (Full Concert)

Wolfgang Amadeus MozartHerbert von Karajan Full HD 1080p Full ConcertSoundtrackCompleteRequiem greatest concert memorable The RequiemMass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan

Herbert von Karajan - 50 Years (Trailer)

Listen to "The Essential Collection“ here – http://www.deutschegrammophon.com/cat/4793036
Listen to "The AnalogueRecordings“ here -
http://www.deutschegrammophon.com/cat/4792686
Subscribe here – The Best OfClassical Music: http://bit.ly/Subscribe_DG
Deutsche Grammophon honours Herbert von Karajan: 50 years as a DG recording artist.
Watch a trailer for the albums of the great Maestro Herbert von Karajan, to be released on Deutsche Grammophon in 2014 in his honour.
Twenty-five years ago, on 16 July 1989, the world lost one of the most widely respected musicians of the 20th century. And his recording company for 50 years, Deutsche Grammophon, lost its chief conductor and most prominent artist. Herbert von Karajan is the best-selling conductor of all time: in the course of his extraordinary career, he sold over 200 million albums.
Now, in the "Karajan Year" of 2014, DG is releasing several new records of this exceptional artist, among them a new 2-CD compilation, "Classic Karajan -- The Essential Collection", and a deluxe edition "Karajan/ Strauss -- The Analogue Recordings".
For more information for "The Essential Collection" please see: http://www.deutschegrammophon.com/cat/4793036
For more information for "Karajan/ Strauss -- The Analogue Recordings" please see:
http://www.deutschegrammophon.com/cat/4792686
For more information about the artist please see: http://www.deutschegrammophon.com/artist/karajan/
_______________
Find Deutsche Grammophon Online
Homepage: http://deutschegrammophon.com
Facebook: http://fb.com/deutschegrammophon
Twitter: http://twitter.com/dgclassics
Instagram: http://instagram.com/dgclassics
Newsletter: http://deutschegrammophon.com/gpp/index/newsletter
_______________
最高のクラシック音楽―登録はこちら: http://bit.ly/Subscribe_DG
最优质古典音乐 – 此处订阅: http://bit.ly/Subscribe_DG
Лучшая Классическая Музыка - Подписаться: http://bit.ly/Subscribe_DG
La mejor música clásica - Suscríbase aquí: http://bit.ly/Subscribe_DG
Le meilleur de la musique classique. Pour vous abonner cliquez ici: http://bit.ly/Subscribe_DG

4:31

Herbert von Karajan - Dies Irae & Tuba Mirum (Verdi)

Herbert von Karajan - Dies Irae & Tuba Mirum (Verdi)

Herbert von Karajan - Dies Irae & Tuba Mirum (Verdi)

Herbert smiling at 03:15 as if he holds the world in his hands !
One of the best performances of this masterpiece by Verdi. Enjoy
I hold no copyright for this video.

1:06:46

Ludwig van Beethoven - Symphony No. 9 | Herbert von Karajan

Ludwig van Beethoven - Symphony No. 9 | Herbert von Karajan

Ludwig van Beethoven - Symphony No. 9 | Herbert von Karajan

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Herbert von Karajan - 50 Years (Trailer)

Listen to "The Essential Collection“ here – http://www.deutschegrammophon.com/cat/4793036
Listen to "The AnalogueRecordings“ here -
http://www.deutschegrammophon.com/cat/4792686
Subscribe here – The Best OfClassical Music: http://bit.ly/Subscribe_DG
Deutsche Grammophon honours Herbert von Karajan: 50 years as a DG recording artist.
Watch a trailer for the albums of the great Maestro Herbert von Karajan, to be released on Deutsche Grammophon in 2014 in his honour.
Twenty-five years ago, on 16 July 1989, the world lost one of the most widely respected musicians of the 20th century. And his recording company for 50 years, Deutsche Grammophon, lost its chief conductor and most prominent artist. Herbert von Karajan is the best-selling conductor of all time: in the course of his extraordin...

published: 22 Apr 2014

Herbert von Karajan - Dies Irae & Tuba Mirum (Verdi)

Herbert smiling at 03:15 as if he holds the world in his hands !
One of the best performances of this masterpiece by Verdi. Enjoy
I hold no copyright for this video.

Wolfgang Amadeus MozartHerbert von Karajan Full HD 1080p Full ConcertSoundtrackCompleteRequiem greatest concert memorable The RequiemMass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan

Wolfgang Amadeus MozartHerbert von Karajan Full HD 1080p Full ConcertSoundtrackCompleteRequiem greatest concert memorable The RequiemMass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan

Listen to "The Essential Collection“ here – http://www.deutschegrammophon.com/cat/4793036
Listen to "The AnalogueRecordings“ here -
http://www.deutschegrammophon.com/cat/4792686
Subscribe here – The Best OfClassical Music: http://bit.ly/Subscribe_DG
Deutsche Grammophon honours Herbert von Karajan: 50 years as a DG recording artist.
Watch a trailer for the albums of the great Maestro Herbert von Karajan, to be released on Deutsche Grammophon in 2014 in his honour.
Twenty-five years ago, on 16 July 1989, the world lost one of the most widely respected musicians of the 20th century. And his recording company for 50 years, Deutsche Grammophon, lost its chief conductor and most prominent artist. Herbert von Karajan is the best-selling conductor of all time: in the course of his extraordinary career, he sold over 200 million albums.
Now, in the "Karajan Year" of 2014, DG is releasing several new records of this exceptional artist, among them a new 2-CD compilation, "Classic Karajan -- The Essential Collection", and a deluxe edition "Karajan/ Strauss -- The Analogue Recordings".
For more information for "The Essential Collection" please see: http://www.deutschegrammophon.com/cat/4793036
For more information for "Karajan/ Strauss -- The Analogue Recordings" please see:
http://www.deutschegrammophon.com/cat/4792686
For more information about the artist please see: http://www.deutschegrammophon.com/artist/karajan/
_______________
Find Deutsche Grammophon Online
Homepage: http://deutschegrammophon.com
Facebook: http://fb.com/deutschegrammophon
Twitter: http://twitter.com/dgclassics
Instagram: http://instagram.com/dgclassics
Newsletter: http://deutschegrammophon.com/gpp/index/newsletter
_______________
最高のクラシック音楽―登録はこちら: http://bit.ly/Subscribe_DG
最优质古典音乐 – 此处订阅: http://bit.ly/Subscribe_DG
Лучшая Классическая Музыка - Подписаться: http://bit.ly/Subscribe_DG
La mejor música clásica - Suscríbase aquí: http://bit.ly/Subscribe_DG
Le meilleur de la musique classique. Pour vous abonner cliquez ici: http://bit.ly/Subscribe_DG

Listen to "The Essential Collection“ here – http://www.deutschegrammophon.com/cat/4793036
Listen to "The AnalogueRecordings“ here -
http://www.deutschegrammophon.com/cat/4792686
Subscribe here – The Best OfClassical Music: http://bit.ly/Subscribe_DG
Deutsche Grammophon honours Herbert von Karajan: 50 years as a DG recording artist.
Watch a trailer for the albums of the great Maestro Herbert von Karajan, to be released on Deutsche Grammophon in 2014 in his honour.
Twenty-five years ago, on 16 July 1989, the world lost one of the most widely respected musicians of the 20th century. And his recording company for 50 years, Deutsche Grammophon, lost its chief conductor and most prominent artist. Herbert von Karajan is the best-selling conductor of all time: in the course of his extraordinary career, he sold over 200 million albums.
Now, in the "Karajan Year" of 2014, DG is releasing several new records of this exceptional artist, among them a new 2-CD compilation, "Classic Karajan -- The Essential Collection", and a deluxe edition "Karajan/ Strauss -- The Analogue Recordings".
For more information for "The Essential Collection" please see: http://www.deutschegrammophon.com/cat/4793036
For more information for "Karajan/ Strauss -- The Analogue Recordings" please see:
http://www.deutschegrammophon.com/cat/4792686
For more information about the artist please see: http://www.deutschegrammophon.com/artist/karajan/
_______________
Find Deutsche Grammophon Online
Homepage: http://deutschegrammophon.com
Facebook: http://fb.com/deutschegrammophon
Twitter: http://twitter.com/dgclassics
Instagram: http://instagram.com/dgclassics
Newsletter: http://deutschegrammophon.com/gpp/index/newsletter
_______________
最高のクラシック音楽―登録はこちら: http://bit.ly/Subscribe_DG
最优质古典音乐 – 此处订阅: http://bit.ly/Subscribe_DG
Лучшая Классическая Музыка - Подписаться: http://bit.ly/Subscribe_DG
La mejor música clásica - Suscríbase aquí: http://bit.ly/Subscribe_DG
Le meilleur de la musique classique. Pour vous abonner cliquez ici: http://bit.ly/Subscribe_DG

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Che gelida manina in the Style of "Traditional" karaoke video with lyrics (no lead vocal)

Download "Che gelida manina" in the style of Traditional in MP4 or MP3+G
formats available here: https://karaoke.stingray.com/search/song?searchText=Che%20gelida%20manina&karaokeId=KAR:G:263509
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Vendrai carino Mozart from Don Giovanni Karaoke with voice

W.A. Mozart - Vendrai carino
Aria di Zerlina from the opera Don GiovanniKaraoke version with piano accompaniment by pianopal.
Music score is included in the video to accommodate the singer.
New aria's and songs will be added on a regular base. Subscribe to my Channel to help me make more free karaoke's.
I would very much like to know witch songs or aria's you want to sing that are missing on my channel. Please let know. You can mail me with your requests at ravanheck@gmail.com.
Visit our Dutch partners
http://www.vioolpiano.com
violin-piano duo
http://www.mythischmetmuziek.nl
Storyteller with live music

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

published:03 Jan 2014

views:493542

back

Che gelida manina in the Style of "Traditional" karaoke video with lyrics (no lead vocal)

Download "Che gelida manina" in the style of Traditional in MP4 or MP3+G
formats available here: https://karaoke.stingray.com/search/song?searchText=Che%20gelida%20manina&karaokeId=KAR:G:263509
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Get The KARAOKE ChannelMobile App, and take this karaoke song to go!
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Download "Che gelida manina" in the style of Traditional in MP4 or MP3+G
formats available here: https://karaoke.stingray.com/search/song?searchText=Che%20gelida%20manina&karaokeId=KAR:G:263509
Sing, record and share this karaoke song online: http://www.thekaraokechannel.com/online/#sid=31701
For more karaoke songs with lyrics, SUBSCRIBE:
http://www.youtube.com/user/TheKARAOKEChannel?sub_confirmation=1
Website: http://www.thekaraokechannel.com/
Karaoke Download Store: http://karaoke.stingray.com
Facebook: https://www.facebook.com/TheKARAOKEChannel
Twitter: https://twitter.com/karaokelounge
Get The KARAOKE ChannelMobile App, and take this karaoke song to go!
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Tchaikovsky, None, but the lonely Heart

(R)* Tchaikovsky, None but the lonely Hearts (song 6), Op.6 No 6.
video edited by a.vullo
Tchaikovsky composed a set of six romances for voice and piano, Op. 6...

(R)* Tchaikovsky, None but the lonely Hearts (song 6), Op.6 No 6.
video edited by a.vullo
Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869. The last of these songs, the melancholy None but the lonely heart (Russian: Нет, только тот, кто знал, Net, tolko tot, kto znal), is Tchaikovsky's most famous song, and one of his most popular compositions. It was composed to Lev Mei's poem "The Harpist's Song," which in turn was translated from Goethe'sWilhelm Meister's Apprenticeship. Tchaikovsky dedicated this piece to Alina Khvostova.
*********************************************************
Goethe's German original:
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
Allein und abgetrennt
Von aller Freude,
Seh ich ans Firmament
Nach jener Seite.
Ach! der mich liebt und kennt,
Ist in der Weite.
Es schwindelt mir, es brennt
Mein Eingeweide.
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
**************************************************
An English translation:
Only one who knows this longing
Understands what I suffer!
Alone and separated
From all joy,
I look to the vast horizon
On every side.
Oh! He who loves and knows me,
Is far away.
I feel dizzy, and it burns
my insides.
Only one who knows this longing
Understands what I suffer!
wikipedia contributo

(R)* Tchaikovsky, None but the lonely Hearts (song 6), Op.6 No 6.
video edited by a.vullo
Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869. The last of these songs, the melancholy None but the lonely heart (Russian: Нет, только тот, кто знал, Net, tolko tot, kto znal), is Tchaikovsky's most famous song, and one of his most popular compositions. It was composed to Lev Mei's poem "The Harpist's Song," which in turn was translated from Goethe'sWilhelm Meister's Apprenticeship. Tchaikovsky dedicated this piece to Alina Khvostova.
*********************************************************
Goethe's German original:
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
Allein und abgetrennt
Von aller Freude,
Seh ich ans Firmament
Nach jener Seite.
Ach! der mich liebt und kennt,
Ist in der Weite.
Es schwindelt mir, es brennt
Mein Eingeweide.
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
**************************************************
An English translation:
Only one who knows this longing
Understands what I suffer!
Alone and separated
From all joy,
I look to the vast horizon
On every side.
Oh! He who loves and knows me,
Is far away.
I feel dizzy, and it burns
my insides.
Only one who knows this longing
Understands what I suffer!
wikipedia contributo

published:29 Nov 2009

views:194892

back

Anything You Can Do ~ Annie Get Your Gun Karaoke Version ~ Karaoke 808

W.A. Mozart - Vendrai carino
Aria di Zerlina from the opera Don GiovanniKaraoke version with piano accompaniment by pianopal.
Music score is included in the video to accommodate the singer.
New aria's and songs will be added on a regular base. Subscribe to my Channel to help me make more free karaoke's.
I would very much like to know witch songs or aria's you want to sing that are missing on my channel. Please let know. You can mail me with your requests at ravanheck@gmail.com.
Visit our Dutch partners
http://www.vioolpiano.com
violin-piano duo
http://www.mythischmetmuziek.nl
Storyteller with live music

W.A. Mozart - Vendrai carino
Aria di Zerlina from the opera Don GiovanniKaraoke version with piano accompaniment by pianopal.
Music score is included in the video to accommodate the singer.
New aria's and songs will be added on a regular base. Subscribe to my Channel to help me make more free karaoke's.
I would very much like to know witch songs or aria's you want to sing that are missing on my channel. Please let know. You can mail me with your requests at ravanheck@gmail.com.
Visit our Dutch partners
http://www.vioolpiano.com
violin-piano duo
http://www.mythischmetmuziek.nl
Storyteller with live music

Herbert Von Karajan : J.S.Bach Brandenburg Concertos (1965)

Herbert von Karajan and the Berliner Philharmonikerplay J.S.Bach, Brandenburg concertos (complete) - 1965 - BWV 1046-1051
0:00 Introduction to this recording
6:08 Start of the music (full track list below)
No doubt Herbert von Karajan was on of the greatest conductors ever. Not even a discussion about that.
No doubt Herbert von Karajan and the Berliner did not play Bach in 1965 in a way I'd call 'representative' today. That's not my point here (if I do have a point whatsoever: music should stand on its own and we listeners should leave it that way, which is difficult since music is emotion, even the way it is played. Embracing diversity potentially could save the movement we call the Early Music. But that's for another time).
No, I don't want you to think von Karajan is playing Bach her...

Herbert von Karajan and the Berliner Philharmonikerplay J.S.Bach, Brandenburg concertos (complete) - 1965 - BWV 1046-1051
0:00 Introduction to this recording
6:08 Start of the music (full track list below)
No doubt Herbert von Karajan was on of the greatest conductors ever. Not even a discussion about that.
No doubt Herbert von Karajan and the Berliner did not play Bach in 1965 in a way I'd call 'representative' today. That's not my point here (if I do have a point whatsoever: music should stand on its own and we listeners should leave it that way, which is difficult since music is emotion, even the way it is played. Embracing diversity potentially could save the movement we call the Early Music. But that's for another time).
No, I don't want you to think von Karajan is playing Bach here in a way I would (if I had the luxury of having an orchestra). Many aspects we'd call today 'neo-baroque', we do hear in this recording, probably mostly in the way articulation is done, the music -even here- would benefit from varying more in articulation, leading to accentuation etc etc etc.
But put all of this aside. It's 1965 now and many, if not all musicians and orchestras overreacted on what was custom in the 'classical' performances of the time. As many of the foundation layers I believe of our HIP-approach are more related to the feeling of 'opposing no matter what to what was common' than experiments done from scratch in the most broad context possible. That is not a reproach, far from, it's just a normal human thing, it is how we operate, constantly in touch with what we like, not like, or even want to change fundamentally. The context with which we are surrounded, changes so much of the way we see the context we want to study. Nothing wrong with that, exciting even, but we should remember the principles behind it all and be aware they exist. It'll make it all so much more relaxed.
And so I present you this recording. I found it in the collection I got last year with literally hundreds of discs in mint condition, but without cover. So a mystery still today often what exactly is in there. Yes, I went through it, but of course one does not remember it all. So did von Karajan appear with Bach. With... Bach. Yes.
Curious? Of course I was. I'm old enough today to realize that the world needs to be looked at with your own eyes and not through the eyes of others. Not that that is not inspirational and can and will guide you. But at the end it need to be your eyes and your eyes only.
Von Karajan in 1965 with the Bach Brandenburg concerti. One of the greatest conductors of its time, with a power that came close to that of a world leading president, an orchestra that had only the best musicians, a machine almost, the state-of-the-art recording technology of Deutsche Grammaphon (it is way better than budget allows many labels today). So why did he think of recording Bach in a time orchestras in general, and record labels in particular were rapidly running away from the approach of the large known orchestras for baroque music?
So, curious? Of course.
How did this acquaintance turned out for me? I'd say more then interesting. They used a cembalo. Put the sound of it away as if the instrument was something they could not escape from using but not with a great enthusiasm. Berliner should not lose it's known sound probably went through some heads.
Yes, I missed some dynamics in some parts.
But... overall I enjoyed my time listening actually a lot. It's clear, transparent (apart from the harpsichord).
Many of the tempi von Karajan takes are in line with what others did at the same time, Harnouncours, Leonhardt, ... but some exceptions are remarkable. As in the menuet of the first concerto, that's slow in a way that is below what Bach probably meant with this piece. But in this version, it has such a grandeur, such a... movement of joy, that the morning after listening, at breakfast, it still was playing in my head. So that is ...powerful.
Enjoy!
--
🙋If you want to support what we do: ▶https://www.patreon.com/authenticsound
--
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6:08 Brandenburg ConcertoNo. 1 In F Major, BWV 1046
1. (Allegro)
2. Adagio
3. Allegro
4. Menuet
32:45 Brandenburg Concerto No. 2 In F Major, BWV 1047
1. (Allegro)
2. Andante
3. Allegro Assai
45:15 Brandenburg Concerto No. 3In G Major, BWV 1048
1. (Allegro) Attacca
2. Adagio Attacca
3. Allegro
58:15 Brandenburg Concerto No. 4 In G, BWV 1049
1. Allegro
2. Andante
3. Presto
1:14:56 Brandenburg Concerto No. 5 In D, BWV 1050
1. Allegro
2. Affettuoso
3. Allegro
1:37:33 Brandenburg Concerto No. 6 in B Flat, BWV 1051
1. (Allegro)
2. Allegro, Ma Non Troppo
3. Allegro
Conductor – Herbert Von KarajanFlute – Karl-Heinz Zöller/Matthias Rütters
Harpsichord [Cembalo] – Edith Picht-AxenfeldOrchestra – Berliner PhilharmonikerProducer – Otto Gerdes
Recorded By – Hans WeberViolin – Michel Schwalbé

Herbert von Karajan and the Berliner Philharmonikerplay J.S.Bach, Brandenburg concertos (complete) - 1965 - BWV 1046-1051
0:00 Introduction to this recording
6:08 Start of the music (full track list below)
No doubt Herbert von Karajan was on of the greatest conductors ever. Not even a discussion about that.
No doubt Herbert von Karajan and the Berliner did not play Bach in 1965 in a way I'd call 'representative' today. That's not my point here (if I do have a point whatsoever: music should stand on its own and we listeners should leave it that way, which is difficult since music is emotion, even the way it is played. Embracing diversity potentially could save the movement we call the Early Music. But that's for another time).
No, I don't want you to think von Karajan is playing Bach here in a way I would (if I had the luxury of having an orchestra). Many aspects we'd call today 'neo-baroque', we do hear in this recording, probably mostly in the way articulation is done, the music -even here- would benefit from varying more in articulation, leading to accentuation etc etc etc.
But put all of this aside. It's 1965 now and many, if not all musicians and orchestras overreacted on what was custom in the 'classical' performances of the time. As many of the foundation layers I believe of our HIP-approach are more related to the feeling of 'opposing no matter what to what was common' than experiments done from scratch in the most broad context possible. That is not a reproach, far from, it's just a normal human thing, it is how we operate, constantly in touch with what we like, not like, or even want to change fundamentally. The context with which we are surrounded, changes so much of the way we see the context we want to study. Nothing wrong with that, exciting even, but we should remember the principles behind it all and be aware they exist. It'll make it all so much more relaxed.
And so I present you this recording. I found it in the collection I got last year with literally hundreds of discs in mint condition, but without cover. So a mystery still today often what exactly is in there. Yes, I went through it, but of course one does not remember it all. So did von Karajan appear with Bach. With... Bach. Yes.
Curious? Of course I was. I'm old enough today to realize that the world needs to be looked at with your own eyes and not through the eyes of others. Not that that is not inspirational and can and will guide you. But at the end it need to be your eyes and your eyes only.
Von Karajan in 1965 with the Bach Brandenburg concerti. One of the greatest conductors of its time, with a power that came close to that of a world leading president, an orchestra that had only the best musicians, a machine almost, the state-of-the-art recording technology of Deutsche Grammaphon (it is way better than budget allows many labels today). So why did he think of recording Bach in a time orchestras in general, and record labels in particular were rapidly running away from the approach of the large known orchestras for baroque music?
So, curious? Of course.
How did this acquaintance turned out for me? I'd say more then interesting. They used a cembalo. Put the sound of it away as if the instrument was something they could not escape from using but not with a great enthusiasm. Berliner should not lose it's known sound probably went through some heads.
Yes, I missed some dynamics in some parts.
But... overall I enjoyed my time listening actually a lot. It's clear, transparent (apart from the harpsichord).
Many of the tempi von Karajan takes are in line with what others did at the same time, Harnouncours, Leonhardt, ... but some exceptions are remarkable. As in the menuet of the first concerto, that's slow in a way that is below what Bach probably meant with this piece. But in this version, it has such a grandeur, such a... movement of joy, that the morning after listening, at breakfast, it still was playing in my head. So that is ...powerful.
Enjoy!
--
🙋If you want to support what we do: ▶https://www.patreon.com/authenticsound
--
📩One weekly mail in your mailbox? 👉http://bit.ly/as-mailinglist
--
6:08 Brandenburg ConcertoNo. 1 In F Major, BWV 1046
1. (Allegro)
2. Adagio
3. Allegro
4. Menuet
32:45 Brandenburg Concerto No. 2 In F Major, BWV 1047
1. (Allegro)
2. Andante
3. Allegro Assai
45:15 Brandenburg Concerto No. 3In G Major, BWV 1048
1. (Allegro) Attacca
2. Adagio Attacca
3. Allegro
58:15 Brandenburg Concerto No. 4 In G, BWV 1049
1. Allegro
2. Andante
3. Presto
1:14:56 Brandenburg Concerto No. 5 In D, BWV 1050
1. Allegro
2. Affettuoso
3. Allegro
1:37:33 Brandenburg Concerto No. 6 in B Flat, BWV 1051
1. (Allegro)
2. Allegro, Ma Non Troppo
3. Allegro
Conductor – Herbert Von KarajanFlute – Karl-Heinz Zöller/Matthias Rütters
Harpsichord [Cembalo] – Edith Picht-AxenfeldOrchestra – Berliner PhilharmonikerProducer – Otto Gerdes
Recorded By – Hans WeberViolin – Michel Schwalbé

Ludwig van Beethoven (baptised 17 December1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost completely deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

Ludwig van Beethoven (baptised 17 December1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost completely deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

Wolfgang Amadeus MozartHerbert von Karajan Full HD 1080p Full ConcertSoundtrackCompleteRequiem greatest concert memorable The RequiemMass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan

Wolfgang Amadeus MozartHerbert von Karajan Full HD 1080p Full ConcertSoundtrackCompleteRequiem greatest concert memorable The RequiemMass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Wolfgang Amadeus Mozart (27.I.1756 – 5.XII.1791) - Requiem in D minor for Soloists, Chorus & Orchestra, K. 626 (Missa defunctorum), was composed in Vienna in 1791 and left Unfinished at the composer's death on December 5. A completion dated 1792 by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a Requiem Mass to commemorate the February 14 anniversary of his wife's death.
Parts/Movements:
00:00 I. Introitus | Requiem aeternam
05:24 II. Kyrie
08:03 III. Sequentia | Dies Irae
09:57 III. Sequentia | Tuba mirum
13:50 III. Sequentia | Rex tremendae majestis
16:11 III. Sequentia | Recordare, Jesus pie
21:22 III. Sequentia | Confutatis maledictis
23:45 III. Sequentia | Lacrimosa dies illa
26:55 IV. Offertorium | DomineJesu Christe
30:45 IV. Offertorium | Hostias et preces
35:18 V. Sanctus | Sanctus DominusDeus Sabaoth
37:10 V. Sanctus | Benedictus
42:38 VI. Agnus Dei
46:18 VII. Communio | Lux AeternaLive Performance https://www.youtube.com/watch?v=ia8ceqIDSJw&t=54s
Anna Tomowa-Sintow, soprano; Helga Müller-Molinari, contralto; Vinson Cole, tenor, Paata Burchuladze, bass. Wiener Singverein, HelmuthFroschauer, Chorus Master.
Wiener Philharmoniker, Herbert von Karajan.
Wien, Musikverein, GrosserSaal, May, 1986.
Karajan GoldCollection. Deutsche Grammophon, 1987.
E.T.A. Hoffmann once wrote that "[Mozart's] Requiem is the sublimest achievement that the modern period has contributed to the church." Mozart's deathbed composition held a high appeal for the nineteenth century; in the supposedly more rational twentieth, it ascended to truly iconic status. It did so despite fundamental mysteries of its composition and even its authenticity, mysteries still unsolved in the twenty-first century. Something in the music's gravitas and subtlety touches each successive generation.
A tangled skein of myths and fairy tales imagine the deathbed genius collapsing upon his manuscript, but many facts about the piece are clear. The Requiem K. 626 is known to have been commissioned by a third party, albeit one who wanted his identity to be kept a secret. The Count Walsegg commissioned a Requiem mass from Mozart via a clerk (the "GreyMessenger" of Requiem-mythology). Mozart accepted the job for his unknown patron, having desired to compose some "higher form of church music" (his Ave verum corpus reflects the same wish). For Mozart, the summer of 1791 was a particularly productive time. Not until the Autumn was he able to make a start on the Requiem. He spent the month of October sketching out large sections of it, some of which he also instrumented. But then he fell gravely ill and was unable to complete the work. Since Count Walsegg, was unwilling to pay for an unfinished piece, Constanze did everything in her power to ensure that the score was completed and approached not only her late husband’s pupil, Franz Xaver Süssmayr, but also a number of other composers with whom Mozart had been friendly. All of them were asked to undertake the by no means straightforward task of completing the score. The Count eventually received a complete Requiem, which he tried to pass off as his own composition; the bulk of this copy derives from the hand of FranzSüssmayr. Scholars have diligently attempted to distinguish Mozart's work from Süssmayr's mishandling of his intentions. In the20th century, too, there were several attempts to produce a performing version that was sensitive to the surviving score.
Mozart's Requiem contains five sections, each capped by a fugue: Requiem/Kyrie, Sequence ("Dies Irae"), Offertory, Sanctus, and Agnus Dei. Throughout, choral writing drives Mozart's music; even the four soloists rarely sing alone. The darkly colored orchestra supports the choir with often vivid motives. This pictorial aspect is most evident in the Sequence: "Tuba mirum" (solo trombone), "Rex tremendae" (regal dotted-rhythms), "Confutatis" (fiery accompaniment), and "Lachrymosa" (sighing strings). Not only do individual movements display an extraordinary level of motivic unity, Mozart carefully creates motivic relationships across the entire Requiem. The very first melody sung by the basses ("Requiem aeternam"), for instance, is repeated at the very end and also echoes throughout the work; the opening melody of "Dies irae" translates into major mode to open the "Sanctus." Mozart is never afraid, however, of acknowledging his debt to earlier traditions of church music. His fugues deliberately reference Bach, and in the first movement alone he quotes from Michael Haydn's Requiem, Handel's funeral anthem for Queen Caroline, Messiah, and the Gregorian chant known as the "Pilgrim'sTone."

Wolfgang Amadeus Mozart (27.I.1756 – 5.XII.1791) - Requiem in D minor for Soloists, Chorus & Orchestra, K. 626 (Missa defunctorum), was composed in Vienna in 1791 and left Unfinished at the composer's death on December 5. A completion dated 1792 by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a Requiem Mass to commemorate the February 14 anniversary of his wife's death.
Parts/Movements:
00:00 I. Introitus | Requiem aeternam
05:24 II. Kyrie
08:03 III. Sequentia | Dies Irae
09:57 III. Sequentia | Tuba mirum
13:50 III. Sequentia | Rex tremendae majestis
16:11 III. Sequentia | Recordare, Jesus pie
21:22 III. Sequentia | Confutatis maledictis
23:45 III. Sequentia | Lacrimosa dies illa
26:55 IV. Offertorium | DomineJesu Christe
30:45 IV. Offertorium | Hostias et preces
35:18 V. Sanctus | Sanctus DominusDeus Sabaoth
37:10 V. Sanctus | Benedictus
42:38 VI. Agnus Dei
46:18 VII. Communio | Lux AeternaLive Performance https://www.youtube.com/watch?v=ia8ceqIDSJw&t=54s
Anna Tomowa-Sintow, soprano; Helga Müller-Molinari, contralto; Vinson Cole, tenor, Paata Burchuladze, bass. Wiener Singverein, HelmuthFroschauer, Chorus Master.
Wiener Philharmoniker, Herbert von Karajan.
Wien, Musikverein, GrosserSaal, May, 1986.
Karajan GoldCollection. Deutsche Grammophon, 1987.
E.T.A. Hoffmann once wrote that "[Mozart's] Requiem is the sublimest achievement that the modern period has contributed to the church." Mozart's deathbed composition held a high appeal for the nineteenth century; in the supposedly more rational twentieth, it ascended to truly iconic status. It did so despite fundamental mysteries of its composition and even its authenticity, mysteries still unsolved in the twenty-first century. Something in the music's gravitas and subtlety touches each successive generation.
A tangled skein of myths and fairy tales imagine the deathbed genius collapsing upon his manuscript, but many facts about the piece are clear. The Requiem K. 626 is known to have been commissioned by a third party, albeit one who wanted his identity to be kept a secret. The Count Walsegg commissioned a Requiem mass from Mozart via a clerk (the "GreyMessenger" of Requiem-mythology). Mozart accepted the job for his unknown patron, having desired to compose some "higher form of church music" (his Ave verum corpus reflects the same wish). For Mozart, the summer of 1791 was a particularly productive time. Not until the Autumn was he able to make a start on the Requiem. He spent the month of October sketching out large sections of it, some of which he also instrumented. But then he fell gravely ill and was unable to complete the work. Since Count Walsegg, was unwilling to pay for an unfinished piece, Constanze did everything in her power to ensure that the score was completed and approached not only her late husband’s pupil, Franz Xaver Süssmayr, but also a number of other composers with whom Mozart had been friendly. All of them were asked to undertake the by no means straightforward task of completing the score. The Count eventually received a complete Requiem, which he tried to pass off as his own composition; the bulk of this copy derives from the hand of FranzSüssmayr. Scholars have diligently attempted to distinguish Mozart's work from Süssmayr's mishandling of his intentions. In the20th century, too, there were several attempts to produce a performing version that was sensitive to the surviving score.
Mozart's Requiem contains five sections, each capped by a fugue: Requiem/Kyrie, Sequence ("Dies Irae"), Offertory, Sanctus, and Agnus Dei. Throughout, choral writing drives Mozart's music; even the four soloists rarely sing alone. The darkly colored orchestra supports the choir with often vivid motives. This pictorial aspect is most evident in the Sequence: "Tuba mirum" (solo trombone), "Rex tremendae" (regal dotted-rhythms), "Confutatis" (fiery accompaniment), and "Lachrymosa" (sighing strings). Not only do individual movements display an extraordinary level of motivic unity, Mozart carefully creates motivic relationships across the entire Requiem. The very first melody sung by the basses ("Requiem aeternam"), for instance, is repeated at the very end and also echoes throughout the work; the opening melody of "Dies irae" translates into major mode to open the "Sanctus." Mozart is never afraid, however, of acknowledging his debt to earlier traditions of church music. His fugues deliberately reference Bach, and in the first movement alone he quotes from Michael Haydn's Requiem, Handel's funeral anthem for Queen Caroline, Messiah, and the Gregorian chant known as the "Pilgrim'sTone."

Mozart - Requiem By Herbert von Karajan (Full HD) (Full Concert)

Wolfgang Amadeus MozartHerbert von Karajan Full HD 1080p Full ConcertSoundtrackCompleteRequiem greatest concert memorable The RequiemMass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to CountFranz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
MORE INFORMATION HERE
http://en.wikipedia.org/wiki/Requiem_(Mozart)
http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
http://pt.wikipedia.org/wiki/Herbert_von_Karajan

6:09

Strauss - Radetzky March - Karajan

Johann Strauss Sr. "Radetzky March", the last piece at the New Year's Concert Vienna 1987,...

Herbert von Karajan - 50 Years (Trailer)

Listen to "The Essential Collection“ here – http://www.deutschegrammophon.com/cat/4793036
Listen to "The AnalogueRecordings“ here -
http://www.deutschegrammophon.com/cat/4792686
Subscribe here – The Best OfClassical Music: http://bit.ly/Subscribe_DG
Deutsche Grammophon honours Herbert von Karajan: 50 years as a DG recording artist.
Watch a trailer for the albums of the great Maestro Herbert von Karajan, to be released on Deutsche Grammophon in 2014 in his honour.
Twenty-five years ago, on 16 July 1989, the world lost one of the most widely respected musicians of the 20th century. And his recording company for 50 years, Deutsche Grammophon, lost its chief conductor and most prominent artist. Herbert von Karajan is the best-selling conductor of all time: in the course of his extraordinary career, he sold over 200 million albums.
Now, in the "Karajan Year" of 2014, DG is releasing several new records of this exceptional artist, among them a new 2-CD compilation, "Classic Karajan -- The Essential Collection", and a deluxe edition "Karajan/ Strauss -- The Analogue Recordings".
For more information for "The Essential Collection" please see: http://www.deutschegrammophon.com/cat/4793036
For more information for "Karajan/ Strauss -- The Analogue Recordings" please see:
http://www.deutschegrammophon.com/cat/4792686
For more information about the artist please see: http://www.deutschegrammophon.com/artist/karajan/
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4:31

Herbert von Karajan - Dies Irae & Tuba Mirum (Verdi)

Herbert smiling at 03:15 as if he holds the world in his hands !
One of the best performan...

Ludwig van Beethoven - Symphony No. 9 | Herbert von Karajan

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Ludwig van Beethoven - Symphony No. 9 | Herbert von Karajan

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

5:03

Che gelida manina in the Style of "Traditional" karaoke video with lyrics (no lead vocal)

Download "Che gelida manina" in the style of Traditional in MP4 or MP3+G
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Che gelida manina in the Style of "Traditional" karaoke video with lyrics (no lead vocal)

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Tchaikovsky, None, but the lonely Heart

(R)* Tchaikovsky, None but the lonely Hearts (song 6), Op.6 No 6.
video edited by a.vullo
Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869. The last of these songs, the melancholy None but the lonely heart (Russian: Нет, только тот, кто знал, Net, tolko tot, kto znal), is Tchaikovsky's most famous song, and one of his most popular compositions. It was composed to Lev Mei's poem "The Harpist's Song," which in turn was translated from Goethe'sWilhelm Meister's Apprenticeship. Tchaikovsky dedicated this piece to Alina Khvostova.
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Goethe's German original:
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
Allein und abgetrennt
Von aller Freude,
Seh ich ans Firmament
Nach jener Seite.
Ach! der mich liebt und kennt,
Ist in der Weite.
Es schwindelt mir, es brennt
Mein Eingeweide.
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
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An English translation:
Only one who knows this longing
Understands what I suffer!
Alone and separated
From all joy,
I look to the vast horizon
On every side.
Oh! He who loves and knows me,
Is far away.
I feel dizzy, and it burns
my insides.
Only one who knows this longing
Understands what I suffer!
wikipedia contributo

3:08

Anything You Can Do ~ Annie Get Your Gun Karaoke Version ~ Karaoke 808

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